Unfortunately, few teachers have published on connections between writing instruction and art history, although there is ample writing on the role of writing in the performance of art history. John Berger's Ways of Seeing, and Mark Roskill's The Interpretation of Pictures both spring to mind as texts whose engagement with the written word in the specific context of art history carries implications for the teaching of undergraduates. Some of the annotated materials below are specifically directed at pre-college art history classes, but they may have adaptable ideas and materials for teaching at the college level.

In the annotations below, those marked with a single asterisk are copied directly from the ERIC database, which is accessible through the Golda Meir Library at: http://www.uwm.edu/Dept/Library/Info/db.html. Those marked with a double-askerisk are copied from the Georgia State University Writing Across the Curriculum subject bibliographies at: http://WWW.GSU.EDU/~wwwwac/.

Additional materials on WAC or on WAC in other humanities disciplines are available through the Edison Initiative offices.

Bernstein, M. (1996). Expanding the horizon: Writing for the visual arts. ERIC Clearinghouse on Reading and Communications Skills. ERIC ED 402587.

Abstract: The writing program at the University of California at Santa Barbara offers a class for junior and senior art history or studio majors or film studies majors, although it attracts students from other related fields such as communications. It is specifically goal oriented and works best with students who have a knowledge of the arts. The class is not about art but concentrates on those writing skills that will impact most clearly on the students' future careers as artists, specifically in the areas of: reviews, brochures and catalogs, resumes, personal statements, cover letters, and grant proposals. The course is hands-on, with each assignment considered from a real world perspective. While expository essay is not emphasized, the course focuses on those aspects of writing usually found in a writing class, such as demands of audience, use of concrete examples, focus, critical analysis, expository writing, development of ideas, and editing. A central section of the course, devoted to audience, looks at the work of Robert Mapplethorpe, the controversial photographer. Also included is David Ogilvy's "How to Write Potent Copy," examined for its content and comments on advertising. A final project asks students to create something artistic that contains writing. Students without fail have responded to the exercise with enthusiasm. They must write a contract that details the nature of the work, dates for submission of each section, etc. Items created have included brochures, CD covers, calendars, and how-to booklets. (CR) *

Demery, M. (1985). College art course outlines: Formats for the state of texas. ERIC ED 266979.

Abstract: Texas, through a recent state legislative mandate, has initiated educational reform for its public school system and teacher education programs in colleges and universities. To implement this reform, the Texas Educational Agency has developed essential elements that are required to be integrated into such courses as the visual arts for a well-balanced curriculum. Four essential elements have been developed for art. These are: (1) awareness and sensitivity to natural and man-made environments (seeing); (2) inventive and imaginative expression through art materials and tools (creating); (3) understanding and appreciation of self and others through art culture and heritage (appreciation/enjoying); and (4) aesthetic growth through visual discrimination and judgement (evaluating). Four art courses containing the essential elements are outlined: an art appreciation course, art for elementary teachers course, art history, and drawing and composition. Bibliographies for each of these college level courses are provided. (LP)*

Feldman, A. (1996). Writing and learning in the disciplines. Chapter 6, "Art History," is both an extended interview with art historian Ingrid Rowland of the University of Chicago, and a sequence of informal and formal writing assignments specifically geared to writing about art and art history.

Hallenberg, H. James Abbot McNeill Whistler: "At the Piano." Art Education 40 (1), 37-38. ERIC EJ 349953.

Abstract: "At the Piano," an oil-on-canvas painting completed in 1859 by James Abbot McNeill Whistler, is used as the basis of a lesson designed to help junior high school students analyze the painting's mood, subject matter, and composition. (JDH)*

Hatch, D., and Farris, C. (1989). Helping TAs use active learning strategies. In Teaching Assistant Training in the 1990s (New Directions for Teaching and Learning, ns 39, 89-97. Eric EJ 396825.

Eric Abstract: Among the many teaching strategies that actively engage students are writing tasks, speaking activities, small-group activities, case-study methods of instruction, simulations, role plays, and field studies. The use of writing and small-group discussion by teaching assistants is discussed. (MLW)*

Mierse, W., Kiedaish, J. (1995). Fitting writing into the survey. Art Journal 54 (3), 82-86. Describes a two-semester, writing-intensive art history introduction at University of Vermont.

Moore, L., Peterson, L. (1983). Convention as transition: Linking the advanced composition course to the college curriculum. Journal of Advanced Composition, 4, 173-187. ERIC EJ 376152.

Abstract: Suggests the concept of convention provides a basis for teaching the cross-curricular writing course. Describes an experimental freshman writing course which focused on the written discourse of five disciplines: art history, history, biology, literature, and philosophy. (RAE)*

Procter, K. (1990). Writing in art history: An instrument for teaching course content. Issues in Writing 2 (2), 117-127.

Argues for the use of writing assignments, particularly sequenced assignments, in art and art history courses. Using writing assignments can teach course content, while (as a secondary goal) improving writing skills. He presents three example assignments in an appendix.**

Proller, N. (1985). Evaluation of the 1984-85 ecia, chapter ii English composition through art history project. Miami: Dade County Public Schools Office of Educational Accountability. ERIC ED 283846.

Abstract: The English Composition through Art History (ECTAH) Project was established in 1984-85 at Coral Gables Senior High School in Dade County, Florida. The main goal of the project was to teach the students how to relate acquired art history knowledge to the literary devices employed by an author. For example, pupils studied non-representational art, surreal art, and cubism to expand their understanding of Faulkner's novel As I Lay Dying. Various forms of artistic media were used to enable the students to better understand literary techniques. The evaluation of the ECTAH project assessed the project's activities as well as the extent to which project objectives were achieved. Data were collected through deserving project activities, interviewing teachers and students, examining teachers' lesson plans, and studying students' attitudes towards the project via a questionnaire. Results showed that the project: (1) served the type of students stipulated in the proposal; (2) maintained appropriate lesson plans; (3) linked audiovisual presentations with literary study in appropriate instructional activities; (4) obtained favorable reviews; and (5) successfully provided students with knowledge. It was concluded that the ECTAH project should continue, expand its supply of equipment and materials, and teach other English teachers how to use the approach. Appendices include sample lesson plans on the ECTAH student questionnaire. (JAZ)*

Thaler, R. (1980). Art and the written word. Journal of Basic Writing 2 (4), 72-81. ERIC EJ 238569.